biamp compression

I decided to rewire my rack, and I put the comp after the xover so I can put different types of compression on the highs and the lows. I've got the lows sounding good, what advice do you have on settings for the highs?

One side effect of this placement is that the gain knobs on the xover don't do much any more because the comp won't let them get too hot.

well, of course you want smooth out the peaks on the high, but two different compressors for each would sound a bit funny to me. I have never tried it though. What about the treble sounds funny to you?

Two different comps for each 1/2 of a biamp signal is the idea behind pedals like the old TE and the new Digitech. My rack comp (cheap Behringer) has a lot more knobs than those pedals and I was hoping to get some help with them.

I gigged this new setup last night. It sounded good but there was excessive hiss. I keep threatening to ditch the whole rack and go back to my Sunn head, I should just do that and stop twiddling all those knobs!

ok, well, don't use the expander. Turn it down. you might also try some of it's automatic attack/release settings. use your eq, too. If you have a dual 31 band EQ,you can generally eliminate most hiss.

You might try running the high channel with very little or no compression. If there is a signal light on the compression channel, you probably want it to only blink during occasionally during loud passages (on the high channel). This will keep your sound dynamic and prevent the squashed sound you may get when compressing a full range signal.
Compression is useful on the Low channel signal as it helps protect the drivers in your speaker cabinet. Compression on the low channel signal can thicken the sound and add sustain. Here it is OK to have a signal light most of the time.
Compression on the high signal may smooth dynamics if your playing is uneven - but most of us want some dynamics in our playing.

I use a Rane DC-24 split-band compressor: has a built-in crossover specifically for compressing highs and lows separately. One of these days I might try amplifying the highs and lows separately as well, but that's another matter.

I bought the DC-24 used, with no docs. I did some research at rane.com, and found a pdf article on how to use it. One suggested method was to gently compress lows, and boost the low band output to compensate for the gain reduction. That way, strong steady lows would be maintained, while leaving the high end dynamic.

That reinforces what's already been said, I guess. I sort of do that, but also leave compression on the highs with a higher threshold; that keeps my popped notes from getting too loud when I do the slap thing.

Actually, I compress the highs so that string popping is smoothed out and let the lows go with just a bit to smooth out my thumb. Both of my threshold settings are high so that I don't affect my finger style very much.

I aso use the side chain out on the highs to trigger 'Verb / Flange / Slap back on occaision. My thumb is much quicker than my popping so for those few times where I need to slap, a touch of slap back on the highs get's me closer to Bootsy! Hope that helps.